 卡拉瓦乔
作品介绍
Basket of Fruit (c.1599) is a still life painting by the
Italian Baroque master Michelangelo Merisi da Caravaggio
(1571–1610), which hangs in the Biblioteca Ambrosiana (Ambrosian
Library), Milan.
It shows a wicker basket perched on the edge of a ledge. The
basket contains a selection of summer fruit:
... a good-sized, light-red peach attached to a stem with
wormholes in the leaf resembling damage by oriental fruit moth
(Orthosia hibisci). Beneath it is a single bicolored apple, shown
from a stem perspective with two insect entry holes, probably
codling moth, one of which shows secondary rot at the edge; one
blushed yellow pear with insect predations resembling damage by
leaf roller (Archips argyospita); four figs, two white and two
purple—the purple ones dead ripe and splitting along the sides,
plus a large fig leaf with a prominent fungal scorch lesion
resembling anthracnose (Glomerella cingulata); and a single
unblemished quince with a leafy spur showing fungal spots. There
are four clusters of grapes, black, red, golden, and white; the red
cluster on the right shows several mummied fruit, while the two
clusters on the left each show an overripe berry. There are two
grape leaves, one severely desiccated and shriveled while the other
contains spots and evidence of an egg mass. In the right part of
the basket are two green figs and a ripe black one is nestled in
the rear on the left. On the sides of the basket are two
disembodied shoots: to the right is a grape shoot with two leaves,
both showing severe insect predations resembling grasshopper
feeding; to the left is a floating spur of quince or pear.
Much has been made of the worm-eaten, insect-predated, and
generally less than perfect condition of the fruit. In line with
the culture of the age, the general theme appears to revolve about
the fading beauty, and the natural decaying of all things. Scholars
also describe the basket of fruit as a metaphor of the
Church.
A recent X-ray study revealed that it was painted on an
already used canvas painted with grotesques in the style of
Caravaggio’s friend Prospero Orsi, who helped the artist in his
first breakthrough into the circles of collectors such as his first
patron, Cardinal Francesco Maria Del Monte, around 1594/1595, and
who remained close to him for many years thereafter.
Scholars have had more than their usual level of disagreement
in assigning a date to the painting: John T. Spike places it in
1596; Catherine Puglisi believes that 1601 is more probable; and
practically every year in between has been advanced. Puglisi's
reasoning seem solid, (the basket in this painting seems identical
with the one in the first of Caravaggio's two versions of Supper at
Emmaus - even the quince seems to be the same piece of fruit), but
no consensus has emerged.
In 1607 it was part of Cardinal Federico Borromeo’s
collection, a provenance which raises the plausibility of a
conscious reference to the Book of Amos. Borromeo, who was
archbishop of Milan, was in Rome approximately 1597-1602 and a
house guest of Del Monte in 1599. He had a special interest in the
Northern European painters such as Paul Bril and Jan Brueghel the
Elder, who were also in Rome at the time, (indeed, he took Breughel
into his own household), and in the way they did landscapes and
flowers in paintings as subjects in their own right, something not
known at the time in Italian art. He would have seen the way
Caravaggio did still life as incidental accessories in paintings
such as Boy Bitten by a Lizard, Bacchus, in Del Monte's collection,
and The Lute Player in the collection of Del Monte's friend
Vincenzo Giustiniani. The scholarly Giustiniani wrote a treatise on
painting years later, wherein, reflecting the hierarchical
conventions of his day, he placed flowers "and other tiny things"
only fifth on a twelve-scale register, but he said also that
Caravaggio once said to him "that it used to take as much
workmanship for him to do a good picture of flowers as it did to do
one of human figures."
Like its doppelganger in Supper at Emmaus, the basket seems to
teeter on the edge of the picture-space, in danger of falling out
of the painting and into the viewer's space instead. In the Supper
this is a dramatic device, part of the way in which Caravaggio
creates the tension of the scene; here, trompe l'oeil seems to be
almost the whole purpose of the painting, if we subtract the
possible didactic element. But the single element that no doubt
attracted its original owner, and still catches attention today, is
the extraordinary quasi-photographic realism of the observation
which underlies the illusionism. Basket of Fruit can be compared
with the same artist's Still Life with Fruit (c. 1603), a painting
which John Spike identifies as "the source of all subsequent Roman
still-life paintings."
 卡拉瓦乔
参考译文
《水果篮》（1599年）是意大利巴洛克大师米开朗基罗梅里西达卡拉瓦乔（1571-1610）的静物画，藏于意大利米兰安布罗画廊(Pinacoteca
Ambrosiana)。
它显示了一个栖息在壁架边缘的柳条筐。篮子里有各种夏季水果：
...一种大小的，浅红色的桃子附着在茎上，虫子在叶子上类似东方水果蛾（Orthosia
hibisci）的损害。在它下面是一个单一的双色苹果，从茎的角度显示有两个昆虫入口孔，可能是苹果蠹蛾，其中一个在边缘处显示出二次腐烂;
一片沾满黄色的梨，带有类似于叶轮损伤的昆虫捕食（Archips argyospita）; 四个无花果，两个白色和两个紫色 -
紫色的成熟和沿着两侧分裂，加上一个巨大的无花果叶，具有类似炭疽病（Glomerella cingulata）的突出的真菌焦化病变;
还有一片无叶的木瓜，枝叶茂盛，有真菌斑点。有四个葡萄串，黑色，红色，金色和白色;
右边的红色簇显示了几个木乃伊的水果，而左边的两个群集都显示出过熟的浆果。有两个葡萄叶，一个严重干燥和萎缩，而另一个包含斑点和鸡蛋质量的证据。在篮子的右侧是两个绿色无花果，成熟的黑色无花果位于左侧后方。在篮子的两侧有两个无形的枝条：右边是一片有两片叶子的葡萄枝条，两条叶子都显示出类似蚱蜢喂食的严重昆虫捕食;
左边是木瓜或梨的浮动枝条。右边是一片有两片叶子的葡萄枝条，两条叶子都显示出类似蚱蜢喂食的严重昆虫捕食;
左边是木瓜或梨的浮动枝条。右边是一片有两片叶子的葡萄枝条，两条叶子都显示出类似蚱蜢喂食的严重昆虫捕食;
左边是木瓜或梨的浮动枝条。
已经有很多吃了虫子，吃昆虫的，并且通常不完美的水果条件。与时代文化相一致，一般主题似乎围绕着褪色的美，以及所有事物的自然腐朽。学者们还将一篮子水果描述为教会的隐喻。
最近的一项X射线研究显示，它是在卡拉瓦乔的朋友普罗斯佩罗·奥尔西（Prospero
Orsi）的风格上绘制的一块已经用过的画布上画的，他帮助这位艺术家首次突破收藏家的圈子，如他的第一位赞助人，红衣主教弗朗西斯科·玛丽亚德尔蒙特，大约在1594/1595年，并在此后与他保持了多年的关系。[2]
在为这幅画指定日期时，学者们已经超出了他们通常的分歧程度：John T. Spike将其置于1596年; Catherine
Puglisi认为1601更有可能;
几乎每年都在推进。Puglisi的推理看起来很稳固（这幅画中的篮子似乎与卡拉瓦乔在Emmaus的两个版本的晚餐中的第一个相同-
甚至木瓜似乎也是同一块水果），但没有达成共识。
在1607年，它是红衣主教费德里科博罗梅奥的收藏品的一部分，这种出处提高了有意识地提及阿莫斯之书的合理性。Borromeo是米兰的大主教，大约在1597年至1602年在罗马，1599年成为Del
Monte的家庭客人。他对北欧画家特别感兴趣，如Paul Bril和Jan Brueghel the
Elder，他们也在罗马当时，（事实上，他把布鲁盖尔带入了他自己的家庭），并且他们将绘画中的风景和花作为自己的主题，这在意大利艺术中当时并不为人所知。他本可以看到Caravaggio作为偶像配件的方式，如蜥蜴的男孩咬伤，Del
Monte的收藏中的Bacchus，以及Del Monte的朋友Vincenzo Giustiniani收藏的The Lute
Player。几年后，学者朱斯蒂尼安写了一篇关于绘画的论文，其中，反映了他那个时代的等级惯例，他将鲜花“和其他微小的东西”放在12级登记册中仅排在第五位，但他也说卡拉瓦乔曾对他说过“它过去需要花费尽可能多的工艺来做一个好的花朵图片，就像做一个人类人物一样。“
就像它在艾玛斯的晚餐中的分身一样，篮子似乎在画面的边缘摇摇欲坠，有可能从画面掉落到观众的空间而不是。在晚餐中，这是一个戏剧性的装置，是卡拉瓦乔创造场景张力的方式的一部分;
在这里，如果我们减去可能的教学元素，那么trompe
l'Oeil似乎几乎就是这幅画的全部目的。但毫无疑问吸引其原主人并且今天仍然引起关注的单一元素是观察的非凡的准摄影现实主义，这是幻觉的基础。一篮子水果可以与同一位艺术家的静物与水果相提并论（约1603年），约翰斯派克认为“所有后来罗马静物画的来源”。
作品细节
 卡拉瓦乔  卡拉瓦乔  卡拉瓦乔  卡拉瓦乔  卡拉瓦乔  卡拉瓦乔
画家简介
米开朗基罗·梅里西·德·卡拉瓦乔（Michelangelo Merisi da
Caravaggio，1571-1610），意大利著名画家。出生于意大利北部伦巴底省的卡拉瓦乔村，因此人们称他为卡拉瓦乔。父亲是庄园主家管事，早年去世，11岁的卡拉瓦乔移居米兰，师从于自称为提香弟子的西蒙·彼得查诺，他是当地样式主义的代表画家，继承了意大利北部现实主义民俗画的传统，并受到威尼斯画派的影响。在米兰期间，卡拉瓦乔肯定看过达芬奇的《最后的晚餐》，无疑熟悉文艺复兴时期大师们的艺术，他的艺术生涯是在意大利文艺复兴盛期的诸大师相继逝世后开始的。
卡拉瓦乔1593年到1610年间活跃于罗马、那不勒斯、马耳他和西西里。他生活贫困，与劳动者为伴，性格暴躁、孤傲寡合、狂放不羁，很难与人相处，这种个性使他处于流浪作画境地，在一次争斗中因误杀了对手而被迫离开罗马到那不勒斯过着流浪的生活，卡拉瓦乔到处与不理解他的人发生矛盾冲突，常因斗殴受到法庭审判，坐牢、逃跑、作画，使他永远处于社会底层，正因如此，卡拉瓦乔对底层劳苦大众的生活和形象更加熟悉，观察理解更加深刻，这为卡拉瓦乔革新传统艺术，创造新艺术形象，使普通平凡的劳动者走进神圣的艺术殿堂提供了难得的生活基础，为他开创了一个艺术的新纪元。在16世纪末到17世纪初的几十年间，罗马一直在建造巨大的教堂和宏伟的宫殿，需要大量画作。当时反宗教改革派教堂在搜寻正统的宗教艺术以还击新教的威胁，因为此前统治艺术界近一个世纪之久的风格主义不足以担此重任。卡拉瓦乔带来的是一种激进的自然主义，兼具近乎物理上精确的观察和生动甚至充满戏剧性的明暗对照画法。在卡拉瓦乔手中，这种新风格是达到真实性和灵性的工具。
以卡拉瓦乔为首的那波里画派（也称卡拉瓦乔画派），兴起于意大利南部的那波里地区，曾受到了尼德兰绘画的影响，它反对学院派僵化的教条和巴洛克美术夸张的浮华；追求朴素、清新、直接面对自然的表现方式；以单纯、强烈的明暗，严谨、结实的轮廓，以前所未有的朴实无华的作风为15--16世纪文艺复兴时期的人文主义绘画向17世纪现实主义绘画的转型起到了关键而重要的作用，对同时代的西班牙、法国、荷兰以及19世纪的现实主义美术思潮都有着深远影响。
卡拉瓦乔通常被认为属于巴洛克画派，对巴洛克画派的形成有重要影响。卡拉瓦乔死后的几个世纪里被人们完全遗忘，直到20世纪的末才被重新发现。尽管卡拉瓦乔影响了风格主义衰亡后几乎所有的艺术风格，但对新兴的巴洛克艺术才是真正的影响深远。安德烈·贝恩-若夫鲁瓦（保罗·瓦乐希的秘书）评论道：“坦率地说，卡拉瓦乔的作品标志着现代绘画的开始。”
参阅
作品资料
Artist：showCaravaggio
Caravaggio: Basket of Fruit
Title ：Basket of Fruit
Object type：painting
Description：Still Life
(Hintergrund von unbekannter Hand übermalt)
Date：circa 1599
Medium：oil on canvas
Dimensions Height: 31 cm (12.2 in); Width: 47 cm (18.5
in)
Current location：showPinacoteca
Ambrosiana
相关文献
[1] Archived November 25, 2005, at the Wayback Machine.
[2] Archived August 14, 2005, at the Wayback Machine.
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